CRACKISWACK (but feels like a strong one tho)

Track Premiere: Diagnostic @janrobbe & @aetherealarthropod - PSXLM(Psalms To The Forgotten)
Read more: https://paynomindtous.it/diagnostic-aea-relic/ 
Artwork by FRAMEofMIND http://frameofmind.be/
***
Diagnostic and Æthereal Arthropod are two of the main players in the contemporary industrial, experimental, and noise scene in Europe, the former being one of the projects of the Belgian sound/graphic designer Jan Robbe (UndaCova, Atomhead, Erratic), and the latter being the moniker of the Spanish musician Nestor Peixoto Aballe, who responsible is for some of the harshest outings in the post-club community such as the releases on Genot Centre, Quantum Natives, and many more.

Their artistic relationship dates back to at least 2016 when Nestor's Hydra's Amaranthine Invigoration two-tracker saw the light on Entity Records, an mp3/ogg netlabel co-founded by Robbe together with Nico De Gols that was born on the ashes of the previous incarnation Tinnitus (reportedly dead in 2003 because of a server problem). Three years later, in May 2019, the two musicians spent a few days together at Robbe's place in Deinze, Belgium that ended up in several minutes of collaborative material which has since then been shaped up in their first record together, called RELIC and out on Friday, May 7th (#BANDCAMPFRIDAY!) on the artists' Bandcamp pages.

Mastered by GianMaria Dell'Aera at Dadub Studio, RELIC collects the results of multiple sessions of modular improvs and vocal fx recording that have been manipulated over the course of the next two years in the shape of a chimeric, alien flow of sound, all wrapped up into 5 track with ominous titles such as Eternal Return of the Derelict Species, The Detrimental Axis of Brutalism, etc. The record lives out of the overlap between Robbe's of radical, harsh industrial music and Nestor's beastly, grinding vocal tracks. As reported by the authors themselves, the work has been shaped around the envisioning of a long-lost, advanced extraterrestrial civilization destroyed by the magnitude of an extinction-level event, and the effects of said terror on the inner functioning of the few survivors' psyches.

Diagnostic and Æthereal Arthropod indulge in the evocation of obscure back-to-primitiveness rituals by means of guttural vocals, and oscillating infra-bass tides while simultaneously infiltrating into the mangy remainings of the inhabitants' sense of being via piercing, blade-sharp noise bursts. Today, we're glad to present you a 5-minutes excerpt out of the EP, namely the third piece called PSXLM (Psalms to the Forgotten), which represents the no-return point inside the alien ceremony that will take you to decaying landscapes of distorted fear.

Diagnostic & Æthereal Arthropod - PSXLM(Psalms To The Forgotten)[PAYNOMINDTOUS Premiere]

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

Gabber Modus Operandi - Larung [digital only]

(+)earth w/ Lamb K305

Fourth track in album "SYMPATHY"
with @archidi_1
artwork by @_v.3lo

PURCHASE

W/ ARCHIDI | SEARCH FOR HOPE

Big Gucci Sosa - Semi On Em x Peridurale - I Yell at Sirens, They Yell Back Louder Blend

DOOMED2000 - GOBACK2HELL [DJ BLEND]

FROM CLAM018 | LIFEPOD5 - The Bravest Selfie Ever

https://clam-pressure.bandcamp.com/album/the-bravest-selfie-ever

@adrianocava

LIFEPOD5 - IG AUTO-FEED

Wanted to post of a clip of this plate , hope yall enjoy it !
..............................................................................................................
My socials :
Instagram : www.instagram.com/riddimo_riddim/
Fb Page : www.facebook.com/Riddimo
Twitter : x.com/Riddimo1
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Riddimo - Atomic

TROGGG

https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-0-8

ID#1 out now https://eggshellgoblin1.bandcamp.com/album/id-1

⬤(⬤)⬤ [DL]

Man Of The Hour

out on https://soundcloud.com/saldefete
From the Ep La Chambre Éclatante
https://saldefete.bandcamp.com/album/la-chambre-eclatante

artwork et mastering : www.instagram.com/gaspard_hers/

Cravers

Originally composed for livestreaming events during the ongoing lockdown of 2020, Felisha Ledesma presents two extended pieces as a debut album, “Sweet Hour”. Ledesma’s first full length release arrives after much experience in creating collaborative works with artists such as Isabella and Angelo Harmsworth, site-specific installations, and high-profile festival performances.

Both pieces were realized using a new software synthesizer, called “AMQR”, which Ledesma built for personal use in collaboration with Ess Mattisson. Contrary to many digitally-based compositions, a distinctly warm and organic palette pervades these recordings. An almost playful leisurely pace is employed, engaging the listener to listen deeper; the pieces gracefully evolve with special attention to subtle shifts in stereo field and sonic coloration.

The time-of-day titles illustrate the two distinct moods conveyed: "7:00 AM" integrates field recordings and a hardware modular synthesizer, taking the listener through a psycho-acoustic journey exploring various nooks and crannies of subdued auditory rivulets: perhaps a hidden woodland brook, a sunny glen, a crunchy gravel walkway. "2:00 AM" harkens to the memories of nightclubs, opening with a synthesized arpeggio which could lead into a dancefloor-ready stomper. But instead, Ledesma steps back, allowing the arpeggio to develop into an encompassing ASMR-like timbral massage. The two compositions are united in a slightly melancholic grasping for connection; are they unfolding or are they unraveling? Ledesma does not answer the question outright, but instead finds joy in superposition and sublimation - while creating a space for the listener to inhabit, to live in, and to re-connect.

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Felisha Ledesma is a multi-disciplinary artist currently based in Berlin, GER. In Portland, OR, Ledesma co-founded and directed numerous organizations focused on experimental sound and community engagement such as S1 (an artist-run space) and the Synth Library (a lending library for electronic music equipment). Most recently Felisha co-founded Fors (fors.fm), creating "novel instruments that are elegant to use and adventurous in sound" in collaboration with Ess Mattisson and is studying sonic arts at Universität der Künste, Berlin. 

releases January 29, 2021

mastering :: Ess Mattisson

cover artwork :: Felisha Ledesma

design ++ layout :: Robin JM Vanderheyden

all proceeds to Equitable Giving Circle :: www.equitablegivingcircle.org

Sweet Hour

Felisha Ledesma - 7:00 AM [Excerpt] (ENXPL04)

Booking & inquiries: djwurm.sunrise@gmail.com

Cravers

Dj Würm

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